Jazz Nicknames Jazz Nicknames Next » Slang is definitely cool, but other non-musical aspects, like nicknames, have created a certain allure or attraction to Jazz, too. Nicknames, especially the stories behind them, are fun, sometimes funny, and other times fascinating. The immortal Louis Armstrong had at least three of them. Even before jazz was officially a musical form, forerunners of it, such as Charles "Buddy" Bolden, had nicknames. In fact, it seems that the bigger the artist, the quicker he or she gained a nickname. This list contains a few of those nicknames; if you know of any others or can expand upon the reasons for a given nickname, please send them to us . Adderley, Julian Edwin --- Cannonball Actually, Adderley's original nickname was "Cannibal" because of his eating habits. "Cannonball" is merely a bastardization of "Cannibal" and is still a good fit. Ammons, Gene --- Jug Not sure why the tenor saxophonist was called "Jug." If you know the source of this nickname, please let us know.

A reader says that Gene was called "Jug" because he could drink anyone under the table. Armstrong, Louis --- Dipper Mouth, Satchel Mouth, Satchmo, Gate King Oliver and other early jazz musicians called Louis "Dipper Mouth" or "Satchel Mouth," presumably because of his large mouth. Early in the thirties, Louis visited England and was given his trademark handle "Satchmo" when British fans heard the "Satchel Mouth" tag incorrectly. Billie Holiday called him "Pops." Gate was also used to designate Armstrong at some point. According to Louis' own book "Satchmo, My Life In New Orleans" reprinted by Ace Books in 1957 (originally published 1955), "Dipper...(that was my nicknameshort for Dippermouth, from the piece called Dippermouth Blues)." It would appear that the name was given to him after the tune which he evidently liked when he was very young. -Bruce Barnett Baker, Chesney H. --- Chet Chet was probably just a derivation of the Cool trumpeter's first name.

If his parents didn't bestow this nickname on Chet, he probably did himself at an early age. Basie, William --- Count In his autobiography, "Good Morning Blues," he writes that he wanted to become part of the "jazz royalty of the time"among them Duke Ellington, King Oliver, Earl Hines and Baron Leeso he took the name 'Count.' This was in the late 1920s. Beiderbecke, Leon --- Bix As an astute reader puts it, "Bix's real name was Leon Bismarck Beiderbecke. That is well documented in the Bix Beiderbecke "bible" by Sudhalter et al: "Bixman and legend." In that book there is a discussion of several pages and a photo of his death attest, where his real name is written.

The name Bismarck came from his father, who somethimes was named Bix, perhaps that's the reason why Bix was christianed Bix." Berry, Leon --- Chu Chu Berry resembled a character from a musical called "Chu Chin Chow." Bertholoff, William Henry Joseph Berthol Bonaparte --- Willie "the Lion" Smith Willie Smith was probably used to shorten the extremely long name. "The Lion" was bestowed because of Willie's forceful manner. Or, as another reader puts it: he was called "The Lion" because of his devotion to Israel. Blakey, Art --- Bu Art Blakey was sometimes called "Bu," which was short for his Muslim name, Abdullah Ibn Buhaina. Bolden, Charles --- Buddy "Buddy" Bolden was reputed to be the first Jazz cornetist. If you know where this nickname came from, let us know. Breitenfeld, Paul --- Paul Desmond Desmond reportedly picked his name out of a phone book. Brown, Clarence --- Gatemouth Gatemouth was obviously derived from "Gator" mouth. "Alligator" was what jazz musicians called each other prior to adopting to "cat." "Hey Gate!" was a common salutation.

Brown, Clifford --- Brownie . It is no great mystery why Clifford Brown was called "Brownie." Byrd, Henry Roeland --- Professor Longhair, Fess, Roy Not sure why this colorful New Orleans pre-rock pianist was called "Professor Longhair." "Fess" was a shortened form of "Professor Longhair" and "Roy" probably came from Roeland. Clayton, Wilbur --- Buck Clayton's nickname was given to him by his mother in reference to his African American ancestors according to a reader. Coltrane, John --- Trane Coltrane's nickname, "Trane," was a shortening of his last name. Davis, Eddie --- Lockjaw It is rumoured that Eddie was heavily "endowed." Possibly he caused a few cases of "Lockjaw" amongst his admirers? Davis recorded a few titles named after more or less incommodating diseases in the late 1940's. "Lockjaw" was later shortened to "Jaws." -Dirk Ludigkeit Davis, Miles --- The Prince of Darkness In reference to Davis' aloof brooding play on stage; it's often cited how he would turn his back to the audience.

Dodds, Warren --- Baby New Orleans drummer Warren Dodds may have been called "Baby" because he was six years younger than his brother clarinetist Johnny Dodds. Dorham, McKinley --- Kinny / Kenny Why the Hope Diamond Was Rumored to Be Cursed and More Fun Facts About America's Artifacts Why the Hope Diamond Was Rumored to Be Cursed and More Fun Facts About America's Artifacts November 9, 2013 – 5:00 AM The new book The Smithsonian’s History of America in 101 Objects unveils fresh facts about our national treasures. (Courtesy of Smithsonian Museum) 1. The Hope Diamond was once rumored to carry a curse. “There had been, over the years—even decades—numerous stories about how the Hope Diamond carried an ancient curse,” author Richard Kurin writes. So when Harry Winston donated the gem, many citizens urged the Smithsonian not to accept. “If the Smithsonian was a national museum and it acquired the Hope Diamond, then the country would own it—and might then the American people be cursed?

‘Turn it down,’ urged many letter writers to the Smithsonian and President Eisenhower.” “The curse story was made up, a modern folktale concocted by French jeweler Pierre Cartier in Paris in 1910 to entice an ultrarich American, Evalyn Walsh McLean, to buy the gem,” Kurin explains. “Over the years, entertainer May Yohe, who had once been Mrs. Hope [she was once wed to Lord Francis Hope, whose family had owned the jewel], publicized and dramatized the story, as did McLean herself. They attributed deaths, revolutions, bankruptcy, and divorce to the stone’s malevolent curse.” (Courtesy of Smithsonian Museum) 2. Louis Armstrong called his trumpet his own nickname:“Satchmo,” shortened from “Satchel Mouth.” (Courtesy of Smithsonian Museum) 3. Black and red stitches mean this Babe Ruth–signed baseball was used in the National League. (Courtesy of Smithsonian Museum) 4. Restoring the flag that inspired “The Star-Spangled Banner” cost the Smithsonian $58 million. A member has started a discussion. Click "Read Comment" to view. Leave A Comment Uh-oh!

Empty comment.It looks as though you’ve already said that.You seem to be logged out. Refresh your page, login and try again.Whoops! Sorry, comments are currently closed. You are posting comments too quickly. Slow down. Login By Elyse Sommer Satchmo at the Waldorf Makes its New York Debut "He was a major-key artist whose lavish generosity of spirit was part and parcel of his prodigal way of making music."— Terry Teachout about Louis Armstrong in Pops, the biography that has morphed into the drama critic-author's first play. "I love the folks and they love me and we all have us a good time. Main thing is to live for that audience. That's what you're there for — to please the people."— Louis "Satchmo" Armstrong as he ruminates on his life and career in Satchmo at the Waldorf. "You can't play nothing on trumpet that doesn't come from him," Miles Davis, who his admiration notwithstanding, denounced Armstrong for pandering to white audiences. John Douglas Thompson It's been quite a journey for Wall Street Journal theater critic Terry Teachout's first play, Satchmo at the Waldorf.

It began with a still in progress but open for review premiere at Shakespeare & Company in Lenox. It then had its official opening at director Gordon Edelstein's home base, Long Wharf Theatre in Connecticuct. Now it's in its Off'Broadway premiere at New York's Westside Theatre. While Armstrong has certainly found someone who knows his jazz history in Mr. Teachout, his story would be just another biographical solo without John Douglas Thompson's impassioned performance as both the title character and his manager Joe Glaser. The only real change since I saw Satchmo in Lenox, is that Mr. Thompson has deepened his demanding role and gotten more comfortable with being the only actor on stage. His shifts between playing Armstrong and Glaser are smoother than ever. My wish that Thompson's several times also tackling Armstrong admirer and critic Miles Davis could include some other jazz world critics like Dizzy Gillespie was already realized by the time the play left the Berkshires. Somehow the current lighting designer Kevin Adams's very effective highlighting of the Miles Davis moments somehow makes that Gillespie snippet unnecessary.

The staging is essentially the same, except that the upstage mirror no longer occasionally morphs into a view of the cityscape outside the Waldorf as it did in Lenox. This is a relatively minor omission. Too bad that the playwright didn't go a bit easier on his use of motherf---er. I don't doubt that the journals to which he had access did confirm Armstrong's use of this expletive. But the heavy use of this expletive on stage seems more like a crutch than a necessity. Except for the above comments my original review still applies to Satchmo at the West Side Theatre and I'm therefore re-posting it below the current production notes.

Production Notes: Satchmo at the Waldorf by Terry Teachout Directed by Gordon Edelstein Running Time: Approximately 75 minutes, no intermission Westside Theatre 407 West 43rd Street (212) 239-6200 Tickets $39 and $79 From 2/15/14; opening 3/04/14; closing 8/03/14-- changed to 6/29/14 closing Tuesday, 7PM, Wednesday & Saturday, 2:30PM & 8PM, Thursday & Friday, 8PM Sunday, 3PM Reviewed by Elyse Sommer at February 27th press preview My Review of the Satchmo at the Waldorf during its premiere run John Douglas Thompson as Louis Armstrong (Photo credit: Kenneth Sprague) The play Terry Teachout forged from Pops his 2010 biography of Louis Armstrong falls under the rubric of solo stage memoir. The title of the book was borrowed from the nickname associated with Armstrong as a result of his calling people "pops" because he tended to forget their names.

The "Satchmo" part of the play's title comes from another common Armstrong nickname, this one short for the trumpeter's satchel mouth and the part about the Waldorf refers to the play's setting — the dressing room at the hotel where the ailing 70-year old musician is performing just four months before his death in 1971. While Mr. Teachout's playscript distills the massively researched book, it too presents a warts and all portrait of the man behind the famous ear to ear smile. Though Armstrong is the pivotal character, Teachout has structured his script to make Satchmo's powerful manager, Joe Glaser have his say in this revealing rumination on the iconic musician/showman's life and career. The dual monologues works as a means to avoid this genre's tendency to come off more like a reading than a full--bodied drama. As importantly, the device serves to vividly illustrate how these two closely connected men, with different but well meshed talents thumbed their noses at those who viewed catering to ticket buying audiences as tantamount to artistic compromise or selling out. Glaser felt Armstrong's big, long-term audience appeal lay in his being an all-around entertainer.

Though the horn and the music he made with it was Armstrong's true passion, he also loved making audiences happy. Consequently he willingly followed Glaser's advice which made him a pop entertainer as well known for his raspy singing and big smile as his his unique trumpet playing. For John Douglas Thompson alternating between Armstrong and Glaser is a chance to add yet another memorable performance to his growing resume of star turns. Though he explained at Shakespeare & Company's post opening celebration that being the only cast member was a new experience that took some getting used to for him, Thompson proves himself to eminently capable of holding the stage even without having other actors with whom to interact. Though he looks nothing like Armstrong, and even less so like Glaser, who was white, he becomes both men and segues from one to the other with remarkable smoothness.

A word about my above reference to "this stage of the play's life." The third performance of Satchmo at the Waldorf's run at the Tina Packer Theater, was billed as "a special localized press opening." This means that critics (and audiences) should be aware that the show isn't "frozen" but will undergo changes until its truly "official" opening at director Gordon Edelstein's Connecticut home base, the Long Wharf Theatre later this year . I wholeheartedly agree with this decision to allow this dramatized new look at Louis Armstrong's crowd pleasing persona to evolve and change before an audience. Thompson seems to already have found ways into his role enabling him to compensate for the absence of other cast members. Teachout, a seasoned theater critic but a novice playwright, has wisely been in Lenox to take advantage of Edelstein's expertise to fine tune his script. And so, the August 24th performance I saw was already different from the one some of my neighbors saw two nights earlier: The 90 minute running time listed in the program was trimmed by close to 15 minutes even though the playwright added a third character— another influential jazz musician, Miles Davis.

The African-American Davis was just one of the many white and black musicians and critics who condemned Armstrong for using his unique gifts as a jazz trumpeter and compelling scat singer into a mass market entertainer best known for his "jillion times" performed super hit "Hello Dolly." Despite his disdain for what he viewed as Armstrong's pandering to white audiences, Davis once said "you can't play nothing on trumpet that doesn't come from him." Adding him as a character underscores the complexity of the art versus commerce conundrum and helps to lessen the tendency for this, like so many solo pieces, to rely more on plot devices than plot to move the story telling forward. As of now, however, the add-on segment still feels tossed in rather than fully thought through. Though director Edelstein has staged the Davis snippets for Thompson to seamlessly switch characters, it would be interesting to see one or two other characters to make mini appearances (Dizzie Gillespie, another black musician and Armstrong critic and Jack Teagarden, the white blues man who played in Armstrong's band before forming his own band, come to mind).

Given that this is being reviewed as a work-in-progress, there are a couple of items I would add to my wish list of changes between now and the final freeze. Mr. Teachout has a wonderful ear for authentic vernacular and Thompson for interpreting the dialogue, and at one point even singing a teensy riff of "Hello Dolly." However, I wish he'd ease up on his use of "motherfucker." I understand how that word quickly strips Armstrong of that crowd-pleasing niceness to reveal a somewhat tougher, rougher man However, Glaser's dialogue is peppered with plenty of expletives, so why not get rid of some the MFs. I'd also like to see the playwright revisit his opening. Having Armstrong rush into his dressing room, exhausted and grabbing hold of the oxygen mask he apparently travels with nicely establishes that this is a man in declining health. The words he speaks after he's able to breathe normally again would set the scene just as potently without adding his embarrassed revelation that he lost control of his bowels before the show. While that inelegant opening does have some shock value, it somehow seems unnecessary.

One thing I wouldn't change is Lee Savage's set with its backwall of a triple dressing room mirror that with the expert help of Matthew Adelson's lighting, changes to a window looking out on the scene outside the Waldorf. It's a set that will work on a proscenium stage as well, if not even better, than the Tina Packer Theater's thrust stage. Whatever version of Satchmo at the Waldorf you see, it's guaranteed to send you rushing to your CD and Ipod collection or to watch the many video clips of Louis Armstrong , both the jazz great, the ever smiling pop entertainer. This production ran at the Tina Packer Playhouse in Lenox from August 22, 2012 to September 16th and later had another "official" run at Director Levenson's theater in Yale Repertory home in Connecticut. Originally from Jazz Nicknames Slang is definitely cool, but other non-musical aspects, like nicknames, have created a certain allure or attraction to Jazz, too. Nicknames, especially the stories behind them, are fun, sometimes funny, and other times fascinating… The immortal Louis Armstrong had at least three of them.

Even before jazz was officially a musical form, forerunners of it, such as Charles „Buddy“ Bolden, had nicknames. In fact, it seems that the bigger the artist, the quicker he or she gained a nickname. This list contains a few of those nicknames; if you know of any others or can expand upon the reasons for a given nickname, please send them to us . Adderley, Julian Edwin — Cannonball Actually, Adderley’s original nickname was „Cannibal“ because of his eating habits. „Cannonball“ is merely a bastardization of „Cannibal“ and is still a good fit. Ammons, Gene — Jug Not sure why the tenor saxophonist was called „Jug.“ If you know the source of this nickname, please let us know. A reader says that Gene was called „Jug“ because he could drink anyone under the table. Armstrong, Louis — Dipper Mouth, Satchel Mouth, Satchmo, Gate King Oliver and other early jazz musicians called Louis „Dipper Mouth“ or „Satchel Mouth“, presumably because of his large mouth.

Early in the thirties, Louis visited England and was given his trademark handle „Satchmo“ when British fans heard the „Satchel Mouth“ tag incorrectly. Billie Holiday called him „Pops.“ Gate was also used to designate Armstrong at some point. According to Louis’ own book „Satchmo, My Life In New Orleans“ reprinted by Ace Books in 1957 (originally published 1955), „Dipper…(that was my nickname – short for Dippermouth, from the piece called Dippermouth Blues)“. It would appear that the name was given to him after the tune which he evidently liked when he was very young. -Bruce Barnett Baker, Chesney H. — Chet Chet was probably just a derivation of the Cool trumpeter’s first name. If his parents didn’t bestow this nickname on Chet, he probably did himself at an early age.

Basie, William — Count In his autobiography, „Good Morning Blues,“ he writes that he wanted to become part of the „jazz royalty of the time“ – among them Duke Ellington, King Oliver, Earl Hines and Baron Lee – so he took the name ‘Count.’ This was in the late 1920s. Beiderbecke, Leon — Bix As an astute reader puts it, „Bix’s real name was Leon Bismarck Beiderbecke. That is well documented in the Bix Beiderbecke „bible“ by Sudhalter et al: „Bix – man and legend“. In that book there is a discussion of several pages and a photo of his death attest, where his real name is written. The name Bismarck came from his father, who somethimes was named Bix, perhaps that’s the reason why Bix was christianed Bix.“ Berry, Leon — Chu Chu Berry resembled a character from a musical called „Chu Chin Chow.“ Bertholoff, William Henry Joseph Berthol Bonaparte — Willie „the Lion“ Smith Willie Smith was probably used to shorten the extremely long name.

„The Lion“ was bestowed because of Willie’s forceful manner. Or, as another reader puts it: he was called „The Lion“ because of his devotion to Israel. Blakey, Art — Bu Art Blakey was sometimes called „Bu,“ which was short for his Muslim name, Abdullah Ibn Buhaina. Bolden, Charles — Buddy „Buddy“ Bolden was reputed to be the first Jazz cornetist. If you know where this nickname came from, let us know. Breitenfeld, Paul — Paul Desmond Desmond reportedly picked his name out of a phone book. Brown, Clarence — Gatemouth Gatemouth was obviously derived from „Gator“ mouth. „Alligator“ was what jazz musicians called each other prior to adopting to „cat“. „Hey Gate!“ was a common salutation. Brown, Clifford — Brownie . It is no great mystery why Clifford Brown was called „Brownie.“ Byrd, Henry Roeland — Professor Longhair, Fess, Roy Not sure why this colorful New Orleans pre-rock pianist was called „Professor Longhair.“ „Fess“ was a shortened form of „Professor Longhair“ and „Roy“ probably came from Roeland.

Clayton, Wilbur — Buck Clayton’s nickname was given to him by his mother in reference to his African American ancestors according to a reader. Coltrane, John — Trane Coltrane’s nickname, „Trane“, was a shortening of his last name. Davis, Eddie — Lockjaw It is rumoured that Eddie was heavily „endowed.“ Possibly he caused a few cases of „Lockjaw“ amongst his admirers? Davis recorded a few titles named after more or less incommodating diseases in the late 1940’s. „Lockjaw“ was later shortened to „Jaws.“ -Dirk Ludigkeit Davis, Miles — The Prince of Darkness In reference to Davis’ aloof brooding play on stage; it’s often cited how he would turn his back to the audience. Dodds, Warren — Baby New Orleans drummer Warren Dodds may have been called „Baby“ because he was six years younger than his brother clarinetist Johnny Dodds. Dorham, McKinley — Kinny / Kenny McKinley Dorham was originally nicknamed „Kinny“ but this usually got misheard as Kenny. This is how it started to appear in record labels when he started recording.

If you check lps he’s on you can see the struggle over Kinny vs. Kenny. -Jonathan Fox Edison, Harry — Sweets Trumpeter Edison was reputedly given the nickname „Sweets“ by fellow Basie band member Lester Young. We’re not sure why Lester called Harry „Sweets“, but „The Pres“ was notorious for bestowing nicknames. I’ve recently read that Lester called Harry „Sweets“ because Harry had a way with words and with music. Eldridge, Roy — Little Jazz Trumpeter Eldridge received this nickname as a result of his diminutive size. Ellington, Edward Kennedy — Duke The young Edward Ellington was called „Duke“ by his friends and family because of his ducal manner and his natty dressing. Evans, William — Lateef, Yusef Another Bill Evans. Sounds like a great trivia question! Filipelli, Joseph Edward — Flip Phillips I suspect that Flip’s nickname derived from his name.

Fitzgerald, Ella — First Lady of Song This was her nickname because she truly was the „First Lady of Song.“ Gaillard, Bulee — Slim Not sure why this guitarist (a member of the popular „Slim and Slam“ duo of the late thirties and the forties) was called „Slim.“ Was he thin? Let us know. Gillespie, John Birks — Dizzy Gillespie acquired the nickname „Dizzy“ early in his career because of his „off-the-wall“ antics both onstage and off. During the bop period, while others were acting „cool“, Gillespie was still acting „Dizzy“ and very showman-like. Gonsalves, Paul — Mex Ellington tenor saxophonist Gonsalves was mistakenly called „Mex“ by some people who believed that this descendant of Cape Verdeans was Mexican. Goodman, Benny — King of Swing Benny was called the „King of Swing“ because of his tremendous success and fan following in much the same way that Elvis was dubbed the „King.“ Green, Freddie — Father Time For the rock-solid beat he gave to the Count Basie band.

Green, Ian Ernest Gilmore — Gil Evans Gil once did an album named „Svengali.“ It had a credit line that said „Anagram by Gerry Mulligan.“ Svengali, of course, is GIl Evans, rearranged. It’s the most original album credit in jazz, with the possible exception of Phil Woods’s credit line that said „embouchure by“ and then gave the name of his dentist. Hampton, Locksley Wellington — Slide This trombone player, tuba player and composer from Indianapolis was probably called „Slide“ because he played trombone at an early age. Hanna, Roland — Sir Roland Hanna It’s not a nickname; he came by his aristocraic title legitimately. After leading a benefit tour in Africa for young African students, he was knighted in 1970 by the late president of Liberia, William Tubman. Hawkins, Coleman — Bean, Hawk The „Hawk“ nickname is obviously a shortening of Hawkins. „Hawk“ was also known as „Bean“ but we don’t know why. Do you? A reader says that the „Bean“ tag was bestowed because of Hawkins intellect.

One of the Classics CD liner notes tells of one time in the late 30s, when Hawkins was playing in England as a featured player for the Jack Hilton (Hylton?) orchestra, and had been quoted, I guess in Melody Maker, claiming that a good player should be able to improvise in any key. The band members surrepticiously played a tune ONE HALF TONE lower, moving it from an easy sax key to a very tough one. Hawkins, coming in for his solo, realized what was going on almost instantly, delivered a respectable solo, and NEVER MENTIONED IT afterwards. Here’s another take on „Bean.“ The story is that some cats looked at hs eyes and said that they look like some beans after they had soaked in some water prior to cooking. Beans swell in standing water. Hence, his eyes look like swollen beans. I’ve heard this story on more than one occasion. And how about this one? Hawkins was called „Bean“ because he came from Boston or „Beantown“, as it was known. apparently, people in Boston use dto eat a lot of beans with brown bread.

Lester Young once called Hawkins „The First President.“ Although this is not technically a nickname, it is interesting and worth a mention. Henderson, Fletcher — Smack Someone out there please tell us why this mild mannered bandleader was called „Smack.“ A reader suggests that „Smack“ is slang for heroin and that Henderson’s laid back manner earned him the nickname. Another reader states he smacked his lips when he ate. Herman, Woodrow Charles — Woody Bandleader Herman’s nickname was obviously a derivation of his first name. Hines, Earl — Fatha Earl acquired this nickname because of his kind temperament. Many musicians felt that they could confide in him and tell him their problems and personal feelings. Quite aside from his undoubted value as a mentor, Hines was an old guy (in his forties in the forties) who wore a toupe. — Steve Danby Hinton, Milt — Judge Because it fits his longevity, professional stature and the personal respect in which he is universally held. Hodges, Johnny — Jeep, Rabbit Johnny Hodges was known as Jeep and Rabbit. Don’t know the source of either. Another reader observes that Jeep came from the „Popeye“ cartoon strip.

According to Harry Carney, Hodges was called Rabbit because he loved lettuce and tomato sandwiches. -Dirk Ludigkeit. Another reader suggests that „Rabbit“ resulted from Hodges quick trips up to a room and back at brothels. This is somewhat scatological, but I have it on the authority of a guy who used to house some of the Ellington band members when they came through Baltimore Way Back When that Johnny Hodges got the nickname Rabbit because when the boys would visit a house of ill-repute, Hodges would (to put it as nicely as I can) go upstairs and only minutes later would come back down. Jackson, Milt — Bags Milt admitted that he got his nickname, Bags, from the temporary furrows under his eyes incurred by a drinking binge after his release from the Army. Johnson, James Louis — J.J. J.J. used to sign his compositions with only his first and last initials (i.e., [J]ames [J]ohnson). This eventually stuck as a nickname. However, it is no longer a nickname, as he had his name officially changed in 1970.

Jones, Joseph — Philly Joe Philadelphia drummer Philly Joe Jones was given this nickname to distinguish him from Basie drummer Jo Jones. Kirnon, Conrad — Connie Kay At Birdland one night, em cee Pee Wee Marquette had trouble pronouncing Kirnon and simply introduced Connie Kay. La Menthe, Ferdinand Joseph — Jelly Roll Morton Jelly Roll’s father, F. P. La Menthe, left home early in Jelly’s youth and his mother remarried to a man named Morton. Hence, the name Morton. The „Jelly Roll“ portion of the nickname has sexual connotations, and comes from early in his career when he was a pimp and a hustler as well as a musician. Lewis, Meade — Lux As a child, Meade „Lux“ Lewis was called „The Duke of Luxembourg“ from the comic strip „Alphonse and Gaston.“ Professor Longhair & other „professors“ „Professor“ or „Fess“ was generally given to teachers / mentors. „Longhair“ is what jazz musicians used to call classical music, because of the long hair of Paderewski & other male artists. But it also refers to someone who knows his stuff – a theorist or a great inventor.

— Steve Danby Massaro, Salvatore — Eddie Lang, Blind Willie Dunn Eddie Lang was probably just an attempt to Americanize. Blind Willie Dunn was an attempt to Bluesify (to coin a word). McKay, Eleanor Gough — Billie Holiday, Lady Day Eleanor McKay was her legal name after her father left, but Eleanor took her father’s last name and the nickname „Billie.“ We are not sure where the „Billie“ handle came from. Her good friend, saxophonist Lester Young called her „Lady Day“ because of his tremendous respect for her and because he thought her every inch a lady. Miley, James — Bubber We’re not sure why the Ellington trumpeter was called Bubber. If you know, let us. Mulligan, Gerry — Jeru Gerry Mulligan’s Jeru came from his name. Nanton, Joseph — Tricky Sam Ellington trombonist Joe Nanton was nicknamed „Tricky Sam“ by Otto Hardwicke. This nickname probably reflects Nanton’s prowess as a trombonist and his ability to apply Bubber Miley’s trumpet wa- wa effects to trombone.

(Original entry.) I can’t remember who gave Nanton that nickname, but it was NOT because of his skill with the plunger mute. Nanton had perfected a technique of drinking on-stage without anyone noticing. – Dirk Ludigkeit Navarro, Theodore — Fats or Fat Girl Bop trumpeter Navarro received the nickname „Fat Girl“ because he was somewhat overweight and effeminate. „Fats“ was derived from „Fat Girl.“ As I understand it, Fats Navarro was called Fat Girl because he had a high-pitched voice, not because he was effeminate. Newman, David — Fathead No, it wasn’t because his head was fat. Saxophonist Newman was given this nickname by his music teacher after he fumbled an arpeggio. Norvo, Red and Bailey, Mildred — Mr. and Mrs. Swing Even though „Red“ is obviously a nickname, that is not what this entry is about. The nickname „Mr. and Mrs. Swing“ is unique because it refers to more than one person. It was bestowed on Red and Mildred because there was no more swinging (in the music sense) couple than they were during their marriage.

Oliver, Joseph — King Oliver was dubbed „King“ because he was literally the „King“ of early New Orleans jazz cornet players. Page, Oran — Hot Lips Trumpeter Oran Page was called the „Hot Lips“ because of his hot Armstrong-like trumpet playing. Parker, Charlie — Bird, Yardbird Early in his career, Charlie was dubbed „Yardbird“ because of his love for chicken. The nickname stuck and was eventually shortened to „Bird.“ (Original entry.) According to one version, he and his band (including employer Jay McShann) were driving to town when a chicken ran out into the road. Upon hitting the bird, Charlie got out, picked it up and took it all the way to their destination to get it cooked up. Hence, the musicians called him Yardbird, which was later shortened to „Yard“ or „Bird“. Peterson, Oscar — Josh Powell, Earl — Bud Not sure why the Bop pianist was called „Bud.“ Let us know if you know why. Prestopnk, Irving — Irving Fazola Irving Fazola took the name Fazola from the the notes Fa, So and La of the tonic scale.

Thus, Fa- So-La or Fa-Zo-La. Pridgett, Gertrude Melissa Nix — Ma Rainey In 1902 she married the song and dance man William „Pa“ Rainey on stage she was billed as Ma Rainey. They had a minstrel act called Ma & Pa Rainey. Reinhardt, Jean Baptiste — Django Not sure why the virtuoso guitarist was called „Django.“ If you know, let us know. A reader points out that „Django“ is the Gypsy name for Jean. Rogers, Milton M. — Shorty (real name Milton Rajonsky) I’m guessing that the trumpeter was called „Shorty“ because of his stature. Rollins, Theodore Walter — Sonny, Newk Not sure why Rollins was called „Sonny.“ He got the nickname „Newk“ because of his resemblance to Dodgers’ pitcher Don Newcombe. Rushing, Jimmy — Mister Five-by-Five It was Jimmy’s body build that caused people to call him „Mister Five-by-Five.“ Sims, Jack — Zoot Sims became known as „Zoot“ after he stood behind a music stand with the word zoot painted on it.

Sinatra, Frank — Old Blue Eyes Pop Jazz singer Sinatra was called „Old Blue Eyes“ for obvious reasons. Smith, Buster — Professor We’re not sure why this alto saxophonist was called „professor“, but we do know that he was one of Charlie Parker’s mentor’s. Maybe that’s why. Smith, Jimmy — Cat Smith, Leroy Gordon — Stuff The Jazz fiddle genius earned the nickname „Stuff“ because he was bad with names and addressed people as „Hey, Stuff!“ Smith, Willie — The Lion The story usually attached to „the Lion“ handle was that during World War One, when Smith was in the artillery, he stood by his gun through shot and shell and thus earned his nickname for his bravery. Whether any of this is true I cannot verify. -Jonathan Fox Stewart, Leroy — Slam Not sure why this bassist (a member of the popular „Slim and Slam“ duo of the late thirties and the forties) was called „Slam.“ If you know, let us know. Strayhorn, Billy — Sweetpea Billy got this nickname from the famous „Popeye“ cartoon strip. Otto Hardwicke may be responsible for bestowing it.

Or the appellation may have come from the fact that he was pretty openly gay, which was somewhat rare in those days (and circles). Teagarden, Jack — Big Gate At one point in the history of Jazz, „gate“ was synonymous with a Jazz musician. Thus, „Big Gate“ was a good nickname for the trombonist. Teagarden, Charlie — Little Gate Since Jack was „Big Gate,“ it was natural that Charlie should be called „Little Gate.“ Torme, Mel — The Velvet Fog Singer Torme was given this nickname because of his velvety singing voice. Trumbauer, Frank — Tram This clarinet playing straight man sidekick of Bix Beiderbecke was called „Tram“ because of his last name. „Tram“ was surprisingly named by Lester Young as one of his strongest influences in a 1950’s interview. Turner, Joe — Big Joe Kansas City blues shouter „Big Joe“ Turner received this nickname because of his large size. Vinson, Eddie — Cleanhead or Mr.

Cleanhead Saxophonist Eddie Vinson was called „Cleanhead“ for his bald pate (Original entry.) Vinson was the victim of a substance called „conk“ used by African Americans to straighten their hair in those days. The solution tended to get extremely hot and „Cleanhead“ couldn’t leave it on his head long enough to do what it was supposed to do, so he started trying to get it out and patches of his hair came with it. Since he had to go to work that evening and had no desire to wear a bandana or handkerchief on his head, he shaved off what was left. The band members had a ball with the epithets and the sobriquet „Cleanhead“ stuck. Another version courtesy of Axel Melhardt: While Eddie „Cleanhead“ Vinson worked at my club JAZZLAND in Vienna, Austria in the 70-ies I found him one morning at the hotel in front of the mirror shaving his head. He told me that after his big hit „Folks call me Mr.Cleanhead“ he had to upkeep his bald head for the rest of his life in order to get gigs.

Up until his early death he had full hair (with little white patches) which grew only on his days off stage. Waller, Thomas — Fats There is no mystery to the nickname „Fats“ which was given to the rotund stride pianist Thomas Waller. Webster, Ben — Frog, The Brute Ben Webster was known as Frog, I think because of his somewhat bulging eyes. Williams, Charles Melvin — Cootie We don’t know why Ellington trumpeter Charles Melvin Williams was called „Cootie“. If you do, let us know. Young, Lester Willis — Pres, The President Lester’s nickname „Pres“ or „The President“ comes from his good friend Billie Holiday who thought that he was, indeed, the „president“ of saxophone players. Connecticut Critics Circle By Marlene S. Gaylinn “Satchmo,” (slang for “satchel” or large, baggy mouth) is a nickname that was lovingly applied to Louis Armstrong, one of America’s finest jazz musicians who died in 1971.

His sweet smile, pleasant personality, and the crumpled, white handkerchief along with the trumpet he held on high became his trademark image. And yet, this solo entertainer, who always presented himself as being polite and mild mannered, usually played in expensive nightclubs, mostly to upper-class white audiences. This gained him wider popularity and another nickname, “Uncle Tom” -- by his own, black people. It is therefore very revealing to hear that in his private life, this famous, stage personality had a completely, different side to him. Besides being loving to his wife, generous to those who needed help and outspoken when it came to civil rights, Armstrong had a very foul mouth and could swear like a trooper. He was apparently loyal to his Jewish managing agent, a shady, gangster character named Joe Glaser, and they casually traded four-letter words when conversing. The word “Schvartzes” (Yiddish derogatory term for black persons) was also likely to have been flung around by Glaser -- although a little more practice is needed to pronounce it correctly in this production. Nevertheless, Glaser arranged Armstrong’s appearances, protected him when needed, and made the two of them very rich.

While they did not socialize on the same level, his manager called his single client “Louie,” treated him like a son, and the pair strongly depended upon each other. However, the actual details of conversations and any personal disappointments concerning Glaser, as depicted in this play, are largely speculative. The playwright, Terry Teachout, is a drama critic for “The Wall St. Journal.” This is his first play, which is based on one of Teachout’s recent books, “Pops: A Life of Louis Armstrong.” It takes place in Armstrong’s dressing room at the Waldorf Astoria where the sick and aging musician gave his last performance -- he died four months later. John Douglas Thompson plays Louis Armstrong in this wonderful, one-man, one-act production. This very versatile actor not only looks the role, his raspy voice and dialect are exactly like Satchmo’s. Even though Thompson polishes his instrument and never blows his horn for us, we do hear Armstrong’s past recordings in the background and this sets the atmosphere. When referring to past phone conversations with Glazer, in a flash, the dressing room changes into an office.

Its large mirrors are transposed into windows, complete with daylight peaking through blinds, and the sick, limping actor suddenly becomes the slick, fast-talking white executive, Joe Glaser. During these instant flashbacks, which take place throughout the production, you can swear there’s another person is lurking in the shadows. And, as you marvel at this amazing talent, Thompson transforms himself into yet a third character near the end of his performance. Lee Savage (stage design) and Stephen Strawbridge (lighting) are responsible for helping to create the wonderful illusions that hold your attention. Gordon Edelstein magically directs this brilliant, opening production of Long Wharf’s theatre season. * Contact Us * Designed by Rokoco Designs * © 2008 CCC * CONNECTICUT CRITICS CIRCLE Music Flashcards - Course Hero the latin version of "o come, all ye faithful" Aida an opera by Giuseppe verdi. The title character is an ethiopian princess who loves an egyptian warrior, Radames. He accidentally reveals egyptian military secrets to her and is condemned to death by live burial in a tom. Aida flees but rejoins Radames to die with him.

-Aida is is a particularly spectacular opera, with lavish sets, costumes, and extras-actors who have no singing parts Alto the lowest range of the female singing voice, also called contralto. Allegro A brisk, lively musical tempo. Allegro is Italian for "cheerful" "America" An american patriotic hymn form the nineteenth century, sung to the tune of the national anthem of Great Britan, "God save the queen" it begins, my country tis of thee Marian Anderson A twentieth-centry African American contralto, known for her performance of spirtuals -In 1941, planced concert at Constituion Hall was blocked by the Daughters of the American Revolution who owned the hall, because she was black. Instead Elanor Roosevelt said give free ocncert on the steps of the Lincoln Memorial. -first black prson to sing with the metropolitian opera of new york city Aria a piece of music for one voice in an opera, oratorio or cantata.

arias are melodious, usually elaborate -some composers such as richard wagner, have felt that arias interrupt the action of opera too much and hence have written operas without them Louis Armstrong Jazz trumpet player and singer, black. Nickname Satchmo short for Satchel Mouth -sang Hello, Dolly and It's a wonderful world Fred Astaire American entertainer who danced in many film Musicals with partners. admired for his speed and grace and for his apparently effortless approach to dancing "Auld Lang Syne" a tradational scottish song, customarily sung on new year's eve. Words passed down orally Johann Sebastian Bach 18th centruy german composer, organist and choirmaster, commonly considered the greatest composer of the baroque era Josephine Baker black actress, dancer singer ,civil rights activists, gained her international reputation first in europe. at her death, was given a state funeral as a war hero ballad a simple narrative song, alternatively a narrative poem suitabel for singing Ballet Theatrical entertainment in which dancers, usually accompied by music, tell a story or express a mood through their movements.

Peter Ilyich Tchaikovsky Swan lake, and the nutcracker Banjo a stringed musical instrument played by plucking. has a percussive sound and is much used in folk music and blue grass music Gioacchino Rossini wrote opera: The Barber of Seville. -title character is figaro. helps his former master win the hand of a beautiful woman Barbershop singing style of singing in parts for small groups, usually 4 singers of the same sex. -flourished in early 20th century in the US, groups today sing songs of that period Baritone a range of the male singing voice higher than bass and lower than tenor Count Basie balck jazz pianist and bandleader. First name is really william. known for "Big Band" sound Bass lowest range of the male singing oice Bass viol the largest and lowest pitched instrument of hte strings, also called a bass fiddle or double bass Bassoon Second largest and second lowest pitched of the woodwinds.

played iwth double reed "Battle Hymn of the republic" an american patriotic hymn from the civil war by julia ward howe, wrote aftervisit to union army Beale Street A street in a black seciton of memphis tennessee, famous for its blues music. "Beale Street Blues" Beatles -beatlemania was hysterical screaming that the beatles provoked in large crowds of teenagers Ludwig van beethoven a german composer of the late 18th c, -moonlight sonata; his nine symphonies -grew deaf midway through his career Irving Berlin -god bless america; white christmas; there's no business like show business Leonard Bernstein known for west side story chuck berry black rock and roll msuican. influenced beatles and bob dylan Georges Bizet "All That Jazz" by Brown, C. Stone - The New Crisis, Vol.

108, Issue 2, March/April 2001 | Online Research Library: Questia Article excerpt Ken Burns' PBS series brings the music to life The New Orleans music spreading fast across the country in the early 20th century had first been called "ratty music" and "gut-bucket music" and "hot music." But it gradually became known as "jass," "jasz," and, ultimately, "jazz," though no one has ever been entirely sure why. As early as 1906, a San Francisco sportswriter was using the word to denote pep and enthusiasm on the baseball field. There were those who thought the word was derived from a West African word for "speeding things up." The original meaning of jazz "was procreation," trumpet virtuoso Wynton Marsalis writes in Jazz: A History of America's Music. Whatever the word's derivation, jazz enthusiasts and music aficionados were treated in January to the most comprehensive documentary on the history and evolution of jazz, America's only original art form.

In a 19-hour, 10-part series, director Ken Burns, whose previous PBS credits include acclaimed documentaries on the Civil War and baseball, tackled the history and social and cultural significance of this great music. It was, indeed, jazz's finest hour, at least from a rating and marketing standpoint. The first episode attracted double the average PBS prime-time ratings in 48 Nielsen rating markets, with the second episode doing even better, holding the series above average in PBS ratings for the remaining eight episodes. Not since the big-band era has jazz received such attention, and the billing included media hype and ancillary products that now accompany modern product marketing. Along with the film, Burns released the series on DVD and VHS. There is a related coffee-table book written by Geoffrey C. Ward. A five-CD boxed set, The Best of Ken Burns' Jazz, includes the works of Louis Armstrong, Charlie Parker, Lester Young, Herbie Hancock, and Duke Ellington, to name a few. The marketing and ancillary products doubtless will help make Burns' Jazz a commercial success. Whether that translates into cultivating an appreciative audience for the music in a new generation remains a question.

Each episode concentrates on seminal figures, with Louis Armstrong being the one constant. Armstrong, the series concludes, "is quite simply the most important person in American music." That's debatable, but jazz sometimes focuses on Armstrong at the expense of other important figures. Burns tells the story of jazz through black-and-white photographs, vintage film and voice-overs, and, through an array of biographical sketches of celebrated jazz musicians such as Armstrong, Charlie Parker and Miles Davis, re-creates the times in which jazz developed. There is attention to some obscure but significant jazz figures such as Buddy Bolden, the New Orleans jazz trumpeter whose influence on jazz is considered on equal footing with that of Armstrong and Joe "King" Oliver, Armstrong's childhood idol. Burns cleverly serves up biographical morsels, giving viewers a humanizing portrait of the music's greatest innovators. For instance, Louis Armstrong's nickname, "Satchmo," was derived from his friends who called him "satchel mouth." John Coltrane's addiction to sweets caused him to lose half his teeth by age 30.

Pianist Jelly Roll Morton, whose first gig was in a house of prostitution, was born Ferdinand Joseph Lamothe in 1890. The greatness of jazz is that it has never tired of transforming itself. During each turn in its development, jazz mirrored the social and economic aspirations of African Americans. When blacks were still referring to themselves as Negroes, they were still playing the blues, a musical extension of their slave condition developed in New Orleans. By the time they adopted the tide "black" people, they were returning to their spiritual roots, led by Coltrane's A Love Supreme. … Subscribe to Questia and enjoy: Full access to this article and over 10 million more from academic journals, magazines, and newspapers Over 83,000 books Access to powerful writing and research tools Article details Newspapers Encyclopedia

Question: Which US entertainer had a nickname derived from the words 'satchel mouth'?
Answer: Louis Armstrong